The suicide at the heart of Dear Esther
Dawn Stobbart

Brooks’ World War Z (2009) and Lionel Shriver’s We Need to Talk About Kevin (2010) all make use of this structure, with the potential for unreliable narration being a key factor in these texts. It is into this tradition that Dear Esther fits: the unreliability of the narrator becomes a major factor in the interpretive nature of the narrative. The fragmentary nature of the letter delivery means that the player, to understand the narrative fully, must repeatedly force the narrator to relive his suicide, haunting this landscape with his continued presence each time

in Suicide and the Gothic
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Capitalising (on) ghosts in German postdramatic theatre
Barry Murnane

, Ökonomie im Theater der Gegenwart: Ästhetik, Produktion, Institution . Bielefeld : Transcript , 209–24 . Botting , Fred . 2001 . ‘Preface’ . In Fred Botting , ed., The Gothic . Cambridge : D. S. Brewer , 1–10 . Botting , Fred . 2013 . ‘Globalzombie: From White Zombie to World War Z ’ . In Glennis Byron , ed

in Neoliberal Gothic